Originally published on Torontoist on November 27, 2012.
The band from Boblo. Photo by Abhishek Chandra.
***1/2 out of *****
A suggestion while watching Boblo: buy a can of Faygo soda from the theatre’s concession stand, preferably a tooth-rotting flavour like Redpop or Rock & Rye. Keep it handy for swaying when the band plays the nostalgia-laden jingle used in 1970s Faygo TV ads shot on the large Bob-Lo Island ferry boats, which made daily runs along the Detroit River from the Motor City to the island amusement park.
Faygo may be sticky sweet, but Boblo isn’t. Billed as “A Rock-n-Roll Concert, A Final Transmission,” Kitchenband’s live theatrical performance reflects on the fleeting nature of memory within the context of a former theme park. Like radio waves floating across the universe, memories of Bob-Lo Island may be drifting away, but—even 20 years after the last screams from the midway echoed across the water to Amherstburg, Ontario—they continue to surface.
Boblo was an amusement park that operated From 1898 to 1993 on Bois Blanc Island, a small piece of land situated between Amherstberg and Michigan, a little south of Detroit. (Before providing a summer day’s getaway for generations of families in the Detroit-Windsor region, the island saw action during the Rebellions of 1837-1838, and as one of the final stops along the Underground Railway.) Over the years it boasted the typical array of roller coasters, bumper cars, midway games, and fast-food stands, along with attractions like a dance pavilion, an observation tower, and its iconic steam ferries. Since the park’s demise, part of the island has been developed into a private residential community.
The park’s fadeout is well reflected by Boblo‘s ghostly feel. Spectral figures sway in the background behind the plastic wrap circling the stage, while certain touches, like old-fashioned microphones, add to the out-of-time feeling. These elements echo the current state of the island, where the ruins of 19th-century blockhouses and park structures remain. Ghostly memories will also stir among those, like co-creators Erin Brandenburg and Andrew Penner, who visited the park during its century of operation or who, like me, were among the generations of Amherstburg teenagers who worked at the park every summer. I can vouch for the uniforms being as bad as described.
Anchoring Boblo is its music, which mixes originals by Penner and songs, like the Faygo ad, associated with the park during its century of existence. Ranging from melancholy string-heavy songs related to tragic events in the island’s history to energetic dance tunes the audience tapped its toes to, the diverse nature of the score combines with the multimedia stage effects to simulate something like the experience of riding a roller coaster. The acting creates a similar impression, with Sophia Walker demonstrating a chameleon-like versatility, going from a girl mapping out her experiences on the island to a slightly sinister carny whose light-swinging suggests a spinning wheel from which no one will win a prize.
Like any swooping ride, Boblo dips between its peaks. The multimedia nature of the show leads to serious sensory overload, like going on a ride after eating too much. Some background choreography and special effects could have been reduced to allow more focus on the foreground action. The use of crackly radio voices alternately adds to the dream-like atmosphere and grates when the dialogue borders on unintelligible.
A production about a bygone era is appropriate for The Theatre Centre’s final presentation in its home at the Great Hall. Following Boblo, the organization is moving into a “pop-up” location a few doors west, then into its first permanent home at 1115 Queen Street West.
This may have been the only time I worked my hometown into a Torontoist piece (though articles about Ann Arbor and Detroit came close).
A month after writing this review, I visited Boblo Island for the first time since the park closed down two decades earlier. Here are some pictures from that trip – for the full set, check out this Flickr album.
One of the first sites when you come off the current ferry is this monument. The following plaque was placed on it in 1948:
DEDICATED TO 134 YEARS OF AMERICAN-CANADIAN FRIENDSHIP
ACROSS FORTY FIVE HUNDRED MILES OF UNFORTIFIED BORDER, PROTECTED ONLY BY THE MUTUAL RESPECT AND UNDERSTANDING ONE NATION HOLDS FOR THE OTHER
COMMEMORATING THE FIFTIETH ANNIVERSARY OF THE BOB-LO EXCURSION COMPANY AND THE FIFTY YEARS OF CANADIAN-AMERICAN USE OF BOB-LO ISLAND AS AN INTERNATIONAL RECREATIONAL AREA
A second plaque notes the monument was “erected as a tribute to the sailors of the Great Lakes.”
Opened in 1913, the Dance Pavilion was commissioned by Henry Ford and designed by architect Albert Kahn, whose work shaped the look of Detroit during the automotive boom era.
Snow covering the former bumper car area. As of December 2012, one could still see traces of this ride, along with the antique cars track and mini golf course.
The base of the observation tower.
A ghost of the antique car ride track.
The blockhouses and this lighthouse form the Bois Blanc Island Lighthouse and Blockhouse National Historic Site of Canada.
The old ferry dock. The left side serviced the giant steam ferries from Detroit until the end of the 1991 season. For the amusement park’s last two seasons, visitors had to arrive from Amherstburg or Gibraltar, Michigan (one of Detroit’s far southern suburbs).